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Everything posted by sandik

  1. The Duke award and the Macarthur do the same -- it's such a smart and thoughtful way to do it!
  2. No kidding. We know her in Seattle from her time with the opera, but she's run all kinds of performance organizations. And this is happening as the company is planning their return from pandemic shutdown and looking for a new AD?
  3. As a dance critic, I look at social media tools in several ways. There are fewer and fewer outlets for writing about dance while dancers and choreographers are less likely to use older, more conventional ways to promote their work. I've had to sign on to platforms like Facebook and Instagram in order to hear about events and keep track of artists in my community, while I try to follow along with colleagues who are self-publishing their commentary or using their social media contacts to link to their work. We are now responsible for promoting our own work, even if it's posted on a fairly conventional website, since readers may not follow along with the site, but just be looking for writing about a particular artist or ensemble. It's a big time sink, among other deficits, and as pherank points out, it's very hard to sort the wheat from the chaff. But it is how work is being done now. Truly, there has always been a divide between the writing that gets published, and the commentary that is part of the larger conversation about the art form. You can make the argument that our increased use of social media actually gives more people more access to more stuff -- the big problem is finding it, and then finding a place to keep it. And in case you didn't know, Google will link you to individual postings here on BA. So smile, and say "hi" to the rest of the sphere...
  4. "Hers, along with Cunningham's, seems to be a lexicon that many contemporary choreographers borrow from, so it's good to see it firsthand from time to time. " You put your finger on it with this, although it's not just Brown, but others of her cohort with the Judson/Grand Union that form a stylistic shift away from the earlier American modern dance generation. Deborah Jowitt's description always rings true for me. "Supple, casual, grounded, a bit shambly, athletic, full of subterfuges, the basic style or look has as many substyles as did the pulled-up, large scale, muscles-in-stress look that was new and fashionable 30 or so years ago."
  5. Many thanks -- a lovely program~
  6. A promotion! If we have to lose him here, I'm glad he's getting a bump up over there.
  7. What, you're not looking forward to Eifman? If you get the chance, see Caleb Teicher -- he's astonishing. As are Michelle Dorrance and her company. And Morris' "Dancing Honeymoon" is wonderful.
  8. There are days I think that Alastair Macaulay doesn't sleep at all, since he regularly turns out hundreds of words a day on various subjects. Since he's not writing for the NYT, he's increased his output everywhere else. Much of this does end up on his website, though, so it's not quite as ephemeral as you might think, Instagram being what it is.
  9. That was my first thought as well -- in general, people don't mess with names unless they have to, or think that it will really get them some new buy-in. It could be that they felt they needed some kind of affirmation of the local connection as they emerge from pandemical restrictions, but I'm still kind of baffled by the change.
  10. The company has announced that Irving is leaving the director position, and that former company member Peter Franc will be serving as an interim. The press release doesn't say too much about the reasons for the change, but Irving said in an email to press and patrons that he was told to resign. The company has managed to keep its head above water this last year, which is an accomplishment not everyone can claim, but I don't know what the financial costs have been. This messy transition reminds me of the last time they changed directorship, putting former director Christopher Stowell in an untenable position until he resigned -- this kind of tension doesn't help anything. Adding to the complications -- next season includes three works by Irving's partner Nicolo Fonte (one of which is the program-length "Beautiful Decay"). Fonte has said that he remains in his resident choreographer position. For those of us on the west coast, this just underlines the more methodical nature of the search for a new AD at San Francisco Ballet.
  11. Those of you who have been here on Ballet Alert since the very early days likely remember Jeff Salzberg -- like many of us who first met on rec.arts.dance and alt.arts.ballet, he migrated here after the web took some of the wind out of the sails of Usenet. He kept migrating, and served for quite awhile as a mod at Critical Dance, but his funny and pointy commentary was part of the community here at the beginning. He was one of a crazy group of enthusiasts from all kinds of places, with expertise and opinions that were shared with enthusiasm and a little hubris sometimes. As a lighting designer for dance and theater he certainly had the expertise, and his opinions were as firmly held as his aesthetics. Back in the Usenet days, a commenter who felt under-appreciated complained that a group of us seemed to offer our opinions as facts, under the guise of truth. Only his spelling was awry, and so we became the Guys of Truth. We came from all kinds of places, geographically and intellectually, but we were happy to find our tribe online -- the Guys of Truth is still a subdirectory in my address book, but more importantly, it was a major part of my dance life for several years. Most of us here now don't know each other in the "real" world, but this community is a kind of home where we share our excitement about dance. Individuals will come and go, some to other enthusiasms, and some to the end of their lives -- I just wanted to mark the exit of one of my earliest virtual friends. Sending love from me to everyone who loved him, and thanks to the dance world that introduced us all.
  12. Aren't they, though! I've seen multiple images of Kain over her career, but less of Nault -- what a fantastic image!
  13. Oh no -- this is awful news. Like many of the people that we meet online, I never got to see her in person, but I was so impressed with her work in dance. We exchanged emails every so often -- nothing earth-shaking, but just waving from one place to another "I see what you're doing and am so glad you're there." Sorting through my inbox last week, I saw a couple things from her and realized we hadn't chatted in awhile. And now we won't. Sending love to all who knew her, in the here and now and in the virtual world.
  14. Agree wholeheartedly -- this pandemical time has taken so many opportunities away from performers and audience alike, but archival screenings like this are a chance to see folks who have left the company one last time.
  15. Ross moved into a new position with the company this year, as Director of Company Operations, and they've posted a tribute to his career online
  16. Ironically, the latest issue of Dance Index is all about Soul Train, and includes several photos of the Lockers.
  17. A local television station ran an interview with Ashton Edwards, who is in his first year as a PD student at PNB -- he expressed an interest in training on pointe, and has added that to his curriculum in the school.
  18. I agree -- she really helped to bring out his performance qualities, and he had the height to really support her, so she could dance freely. It was a pleasure to see that develop.
  19. On a cheerful note -- you can watch the company in excerpts from the 2018 Pillow performance as part of the Pillow's virtual festival for free.
  20. I just heard this morning -- I am so sorry. The magazine is in the process of publishing its last issue, and he did not live to see it come out. Sometimes the universe is pretty mean. Like many of us here, I've been a subscriber for as long as I knew it existed. Way back before the internet made it easy to talk with people who were elsewhere about dance, I would read something in BR and nod my head vigorously (or scratch it as I tried to understand something a bit beyond my experience) -- it was an intellectual companion on many trips to the theater. Many thanks to Marvin H, and to the whole crew, for their unconscious contribution to my dance education.
  21. Pacific Northwest Ballet has embarked on a series of discussions focusing on Black, Brown and LGBTQ members of the dance community -- here's their opening session.
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